We are pleased to make our special issue Language-in-Use and the Literary Artifact available for free for a limited time.

Literary critics and theorists often shy away from talking about writers and readers as people who put language to use. Instrumentalized reason, positivism, and other watchwords warn against turning a literary artifact into mere data or information, or making it part of an exchange of language that is not exclusively aesthetic in nature. At the same time, when critics seek praxis in literature, speak about the performative attributes of a text, or discuss how to do things with words, they usually treat whatever text they are considering as a stable object. The contributors to this special issue of Representations are all interested in language-in-use as it applies to different kinds of linguistic artifacts and to text understood as the dynamic product of an interactive process. We take it that even the most literary of artifacts can be considered from this point of view. It is possible, for instance, through a kind of “literary fieldwork,” to discover the kinds of dynamic, social, indexical, and context-based negotiations of literary and cultural value that will be at stake in the essays making up this volume. Such negotiations are inevitably present in and around literary artifacts because those artifacts are made of language, and because in using them more language is frequently produced. Even in the midst of an argument for literary autonomy by someone taken to be a key spokesperson for the idea (Gustave Flaubert) we can locate the dynamic relationality of language-in-use and see how it is relevant to the texts he produced. Continue reading . . .

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"Do we have a problem with time?" ask the editors of the 2016 special issue Time Zones: Durational Art and Its Contexts. The issue explores "time-based art" across several disciplinary formations, including performance and visual media, sound, dance, and political resistance.

Alexei Yurchak, author of "Bodies of Lenin" (Representations 129, Winter 2015). Here he is receiving Russia's prestigious Prosvetitel Prize, in November 2015, for his Everything Was Forever, Until It Was No More: The Last Soviet Generation.